'S3537 NO- PLAYS •EXCM~AriGCD «| . 

T285 —..»,..»..—..—..— ..^..^..^.,^.'.^,.^. 







1 



THE AHAZONS *^<^*^ Three Acts. Seven males, iSlTe femaies. 
Ooetmnes, modem; scenery, not difficult. Plays 
a full eyening. 

THE CABINET MINISTER ^^^l^FourActs. Tenmates,nine 
«u.4 wzuFui<4« «uuiwAMi^ females. Ctostumes, modem society; 
Bcen^ y, three interiorSo Plays a full evening. 

DANDT DICK ^^^ ^ Three ActSc Seven males, four females. 
Costumes^ modem ; scenery, two interiors. Plays 
two hours and a halt 

THE 6AY LORD ODEX ^™«^y*^^<>^-^<5ts. Four males ten 
" females. Costumes, modem ; scerery, 

two interiors and an exterior. Plays a full evening. 

HIS HOUSE IN ORDER ^^^^^^y^Po^^-^^^^^* Nine males, fonf 
A *< females. Costumes, modem ; scenery^ 
three interiors. Plays a full evening. 

THE HOBRY HORSE ^^^^^y ^ Three Acts. Ten males, five 
^^ females. Costumes, modem; scenery easy. 

Plays two hours and a half. 

IDTC Drama in Five Acts. Seven males, seven females. Costume6| 
modem ; scenery, three interiors. Plays a full evening. 

LADY RODNTIFCL ^^^ ^ T^Qyn Acts. Eight males, seven fe- 
U ffWilUUl* males. Costumes, modem; scenery, four in- 

teriors, not easy. Plays a full evening. 

I FTTY ■'^'*™* ^ Four Acts and an Epilogue. Ten males, five f e- 
^ males. Costumes, modem ; scenery compUcated. Plays a 

full eveningc 



Sent prepaid on receipt of price by 

wmtv i^* QBafeeif Si Company 

No. 5 Hamilton Place, Boston, Massachusetts 



FARO NELL 

A Vaudeville Sketch in One Act 



By 
WILLIS STEELL 

Author of "^ Bride from Home^" '"-The Fifth Com- 

mandment^" '^''Brother Dave^'' '-''The Morn- 

ing After the Play^' etc. 

First produced by Fannie Hatfield and company , at The 
Lyric Theatre^ Dover ^ N, H., November 2g, igii 



NOTE 

This play may be performed by amateurs free of royalty and 
without express permission. The professional stage rights are, 
however, strictly reserved, and performance by professional 
actors, given in advertised places of amusement and for profit, 
are forbidden. Persons who may wish to produce this play 
publicly and professionally may apply to Willis Steell, Islip, 
L. L, N. Y. 



BOSTON 

WALTER H. BAKER & CO. 
1912 



FARO NELL 



CHARACTERS 



Miguel, keeper of the Mission Fo?ida at La Sonera, 

Apollo Pratt, a miner, 

Happy Hank, another y whiskey cured, 

CooLEY, Sheriff of Sonor a County, 

WiLER, a stranger. 

Dick Thatcher, a young miner, 

and 
Faro Nell. 

Miners, vaqueros, Mexicans with guitars and mandolins, etc. 




Copyright, 191 2, m Willis Steell 

As Author and Proprietor 
All rights reserved 



GID 28695 



Faro Nell 



SCENE. — The courtyard of an abandoned mission on the 
coast range in Southern California. This mission has been 
trafisformed itito afonda or Spanish i?in. A portal, back c, 
has two rudely carved lintels of stone, while rough double 
doors of wood, painted green, close it in. Right of door is 
a deep window which shows the thickness of the stone walls. 
Down R. a stable has been partitioned off ; bundles of straw 
and fodder litter the entrance and the stable shows black 
beyond except for a crack of light which indicates a door. 
Below the stable entrance stands a bench of black oak carved 
with monks'* heads ; it was once a stall in the choir of the 
mission church. A similar bench stands left of C, in front 
of a raised platform behind which are hung several gaudy 
Mexican scrapes. Dow?i l. is a sign with a hand and the 
words ** Drinks Americanos " indicating the door into the 
barroom. Strings of red peppers, garlic and onions hang 
071 the walls, which are whitewashed, and near the stable R. 
hang saddles, other horse furniture and a lariat. The 
glimpse of the sky and mountains from the doorway and 
window show these of cloudless blue color. Time ten A. M. 
of a spring morning. 

{Discover a group of miners, Mexicans y etc., staring out of 
the open doorway. Cooley leans out of the window. 
Miguel reclines on the bench l. with his sombrero tipped 
over his eyes and smoking a cigarito. Wiler sits on the 
bench r. paying strict attentioti to what is said and done. 
Happy Hank, between MiG. and barroom, tries to sneak 
in there without being noticed. Music of guitars and 
mandolins heard as the curtain rises and the miners are 
singing softly.^ 

Omnes. He's a-seeing Nellie home — 
He's a-seeing Nellie home — 
Oh, the sun was shinin', brightly shinin' — 



4 FARO NELL 

Cool. Shut up. 

{^He takes a red cotton handkerchief from his neck and waves 
it solemnly out of the witidow.') 

Omnes (waving handker chief s^ sombreros and shouting). 
There's Nell ! That's her ! 

(MiG. sees Happy H. sneaking itito the barroom and rising 
languidly intercepts him a fid motions him to join the 
others. Happy H. obeys with a bad grace.) 

Cool. Nell'll get here in five minutes. Boys, get ready for 
a whoop. 

Omnes. Hurray — hurray for Faro Nell ! 

Cool. Shut up ! [Silence.) Dead still till Nellie lands — 
then ail yell to blazes. 

WiLER. What's all the fuss about ? 

Cool. You can't understand it none, bein' a stranger. 
Our Queen bee Faro Nell went out a-prospectin' t'other day 
an' struck a mine less'n a mile from here. We scorned her 
speciments but back comes the assay by express last night — 
quicksilver, by Gum ! Nell starts out half 'n hour ago to nail 
up her notice. The hull camp struck work to go along but Nell 
wouldn't take no one but Dick Thatcher. We're assembled to 
give her a Sonora send-off when she lopes in to say the deed 
is did. 

Omnes. Hurray — hurray for Faro Nell ! 

WiLER (^sarcastically). Every man's friend — kind of free 
and easy she is, eh ? 

Cool, (taking a step toward him). Look here, stranger, 
depends how ye mean them words whether yer face is yer 
fortin' in this 'ere camp. 

Wiler. No offense meant. 

Cool. The girl's father died in one of Miguel's beds, an' 
the camp adopted the orphan. Every man in camp's dead 
struck on her ; I bet there ain't been a day in the three years 
she's kept bank in Sonora that Nell ain't had a offer of splice 
from some of us, whether we're married or single. 

Wiler. Do you mean this girl runs faro bank ? 

Cool. That's what I mean. Her father done it before her 
an' Nell didn't have no other means of gettin' a livelihood ; 
anyways she's a dead game sport. We used to have some 
shootin' up over faro, but no more. Nell's a little lady an' 



FARO NELL 5 

she deals a square game, peaceful as Sunday-schools. No 
occasion for firearms in Sonora since Nell came to town. 

VViLER. She'll have more offers of marriage now she's 
struck it rich. 

Cool. Ye can't call the boys fortin* hunters, can ye, when 
they sparked up before Nell had a dollar ? 

MiG. [putting his hand to his ear). I hear — Nell comes 
now — very quick ! 

Cool, (^going up followed by MiG. ; men group at door'). 
Now, boys, get ready to holier ! 

(Happv H. sneaks back and into bar. Wiler goes off r, 
through the stable.) 

MiG. {fioticin^ where Happy H. has gone^ comes doivn^ 
shrugging his shoulders). Who shall keep the Americanos ofif 
the drink? {Turns and misses Wiler.) Hola ! the strange 
sefior has fly away. Three pesetas loss — Caramba, no ! 

(^Ife snatches the lariat from the wall and follows Wiler 
off R. Sound of hoofs heard. Faro Nell draws up her 
horse in the doorway, laughing and waving her hand. She 
is about twenty, wears a dark red skirt and a lighter red 
waist, with a leather belt and a pistol, hi her hair she 
wears a high Spanish comb and a cluster of red roses.) 

Omnes. Hip, hip, hurray ! Nellie, Nellie, Nellie ! 

(Cool, offers to help her down.) 

Nell. Thank you, boys, that sounds good. No, Sheriff, 
it's Dick's right now. 

(Dick Thatcher, a fine, tall youn^ miner, helps Nell to 
dismount. She comes through the crowd keeping his 
hand. ) 

Cool. What d'ye mean, Nell? 

Nell. I mean I've promised Dick up there in the mountain 
that; I'd be his wife. 

Omnes {grumbling^. Oh, come now, — him ! Nell, 

you know you told me I thought you'd take 

Nell {laughing). Does the camp object ? 

Cool. Well, Nell, we allers said as you should have yer 
choice — but what in tarnation made ye light on Dick ? 

Nell. You see— I love Dick. 



b FARO NELL 

Cool. She — if you loves him that settles it, eh, boys? 
Three cheers for Nell and the groom, — hearty now. 

Omnes. Hip, hip, hurray ! 

Nell. Thank you, boys, — I was sure you'd come around 
when you got to know Dick as well as I do. 

Cool. When we got to know — well, I'll be blowed ! How 
did it happen, Nell ? 

Nell. Dick asked me again this mornin' — he's asked me 
every day for three years 

Cool, {interrupting). Sp've I. 

Other Men. And me. And me. 

(Happy H. stands just within the door l. ; holds a glass 
behind him. Everybody laughs. He nods solemnly.') 

Nell. We'd just put up the notice that the Faro Nell 
Quicksilver Mine was my property by right of discovery, when 
1 see Dick lookin' kinder down an' I thought here was a poor 
boy who had been prospectin' for years alone and never made 
a strike, — and I wanted to give him mine, — I guess that meant 
I loved him, didn't it. Sheriff? 

(Dick squeezes her hand.) 

Cool. I'm holdin' on to myself to keep from shakin' hands 
with the cuss. I kinder feel I can't hold in any longer. Here, 
Dick, shake. {He shakes Dick's hand violently ; other men do 
likewise.) Nell, this don't mean you'll go away an' leave us? 

Nell. I've got to go, Sheriff, to get educated. I always 
wanted to. I said we'd put off the weddin' till I'd done it, 
but Dick said — no, we'd get married first an' educated after- 
wards. 

Cool. Dick's right. How long do you think you'll be 
away, Nell, a month? 

Nell. It'll take longer than that. Sheriff, to get educated ; 
nearer two. 

Cool. You're sure to come back ? 

Nell. Come back? Before I came here I was just — a 
homeless tramp — now the lights and shadders of them old 
mountains make my home; the sweetness of this blue air is in 
my blood — callin*, callin' ; I got to answer — I got to come 
back ! 

Cool. Bully for you, Nell. 

{The men nod vigorously and niurftnir assent.) 



FARO NELL ) 

Nell. I couldn't stay away from you, boys, — why — why — 
you don't know what you all are to me. When dad died in 
there (^pointing off l.) he made me promise I'd live straight, — 
I've tried. 

Cool. An' you done it, too. 

Nell. I've made mistakes like everybody does, but I guess 
the Almighty ain't goin' to scoop any of us for our mistakes. 
All I know is that I couldn't keep half so straight if you boys 
hadn't helped me. 

Cool. Sho, now, Nellie, sho — now. 

Nell. That's gospel — you've been like a second father to 
me, Sheriff, an' you, 'Polio Pratt, have been a brother, an* you, 
Doby, and you, Dawson — I'll come back to Sonora, because 
it's my home, an' back to you boys because you're my family. 

{She has shaken hands with the men as she says these words, 
and they show that they are pleased and friendly.^ 

MiG. (outside door c). Hola ! Hola ! 

Nell. It's Miguel. Somebody's got in a scrape. 

{The crowd go up to door C.) 

Enter MiG., dragging in Wiler, whom he has lassoed. Wi- 
LER's/i/r^ is concealed by his sombrero. He struggles to 
free himself until he passes through the door^ then he 
stands passive. 

Cool. What's up, Mig ? 

MiG. {drawing on the lasso). The Americano run away, 
Senor Sheriff; fly like the devil — he no pay me. 

Cool. Sho — now — don't choke him to death for a measly 
night's lodging. 

MiG. Madre de dios — no. He fly to the mountain, I fol- 
low—I watch him tear down Faro Nell's notice of locater mine 
and put up his. 

Dick {striding toward Wiler). You done that — you 
skunk ? 

Cool. Hold on — there, Miguel — this is my business. You 
say you see this stranger who trailed in last night — tear down 
Nell's notices and put up his own? That's stealin'. 

MiG. Si — Senor Sheriff. I see, wherefore I lasso this 
Americano and drag him here. 

Cool. You done right. 

Dick. String him up— short ! 



8 FARO NELL 

Omnes. Up with him — swing ! 

Nell. No — boys — no. Give him a chance. If he done 
what Miguel says I'll swear out a warrant. 

Cool. I'm sheriff here — we don't need no damned warrant 
— swing ! 

Omnes. Swing ! Swing ! 

Nell {stamping her foof). I say no ! Let him have his 
say so. Unrope him, Miguel. (MiG. takes the lasso off 
Wiler's throaty and the miners hustle him down in front of 
Nell.) Give him the straight talk, Sheriff. 

Cool. Did you tear down the notices, lawful put up on 
the Faro Nell mine ? 

WiLER {coolly). I tore down the notices I found there. 
Here they are. 

(ZT/f shows papers crumpled in his hand. Men exasperated 
start to seize him. Cool, puts up his hand.) 

Cool. No — no, boys — Nell wants it done legal. Did you 
mean to rob the girl ? 

Wiler. No. 

Cool, {sarcastically). Of course ye didn't. Had a better 
claim, did ye? 

Wiler. Her notice wasn't legal. 

^-KVA. {sharply). What's that? 

Cool. Why wa'n't it legal? 

Wiler. Because she put it up in her name as a single 
woman. She ain't a single woman. She's married. 

Nell. What ? 

(Dick looks at her doubtfully.) 

Wiler. She's my wife. 

Dick. Nell ! 

Nell {astonished). I'm his {Laughs.) Boys — you 

hear that? I'm his wife ! Who are you? {She comes down 
close to him and snatches off his hat.) You ! 

{She shrinks back.) 

Wiler. She's my wife — look at her ! 
Cool. Nell — do you know him ? 

(Nell pulls herself together with an effort. Dick comes to 
her.) 



FARO NELL 9 

Dick {agonizingly). Nell— do you ? 

Nell. 1 know him — yes, I know him, but when he says 
I'm his wife — he lies. It's a lie, Dick — don't you believe me? 

— Oh {She thinks he doesn't, and shudders ; then steps 

in front of Wiler.) You thief — you swindler — you devil — 
you ruined my poor old dad — and you've come here to ruin 
me — but you shan't. Dick — Sheriff — boys — you'll believe me, 
not him — I'll tell you the truth — I've never been anything to 
that man — I've never been married — I never will be — unless 

Dick believes me {She turns to "Dick; he holds out his 

arms.) Oh, thank God! {Starts to him; stops and turns 
to Cool, and crowd.) Sheriff — boys — I've lived with you — 
been one of you — you know me — you do believe me ! 

{She puts head on Cool.'s shoulder.) 

Cool, {tenderly). There — there, girl, we believe ye — we 
knows ye — say, Dick, ain't this your long suit? 

{Hands her to Dick.) 

Dick {taking her in his arms ; she sobs). Nellie ! 

Cool. She ain't a-cryin' ? — Nell, I'm plumb sorry I un- 
muzzled the lying critter — for a minute like a gosh blame fool I 
took stock in him 

Nell {looking up and smiling through her tears). Dick 
didn't. 

{Men seize Wiler and drag him hack,) 

Wiler {resisting). Hear me — you fools; you don't sup- 
pose I can't prove what I say? 

Cool. Hustle him off, boys — run him out of town. (Men 
hustle Wiler, all the time struggling, out of door c. MiG. 
goes with the crotvd flourishing his lasso. Happy H. sneaks 
into room, la. Cooi.. pauses at door.) I guess I ain't wanted 
here — this ain't pra'r meetin' — it's love feast. 

[^Exit, c, and closes doors. 

Nell. Dick, if you'd took in what that stranger said, I'd — 
I'd a- gone with him. 

Dick. Now — Nell ! 

Nell. Yes, I would— no, I wouldn't; the boys believed 
me. I suppose off there in the East they's men that washes 
and combs more reg'lar, but I guess they ain't any with bigger 
hearts. {She stops and tries to smile; turns from him.) Oh, 
Dick ! 



lO FARO NELL 



Dick {going to her). Well— Nellie. Well, Nell? 

Nell. You trust me against that man's word — but I lied to 
you ! 

Dick (^puzzled). Nell— lied ! 

Nell. No — 1 can't do it. I can't go on. It's got to come 
out 

Dick. Nell ! — you ? 

Nell. I wish I could go on lying about it, fer I love you. 
Dick, you're my life — but I can't — it's all over. You trust me 
against his word — but what that man says is straight. 

Dick. What's that? 

Nell. Yes — it's true. 

Dick. But you 

Nell {interrupting). I let you ask me to marry you, and I 
said yes. You see, Dick, I wanted to forget for a minute, and 
I did. 

Dick. What's this, — play actin', Nell? 

Nell. 'Tain't actin' — it's real. Oh, God — can't you see? 
I can't go on — I dassent, Dick — it's got to come otit; I'm his 
wife. 

Dick. That man's wife — ain't ye crazy, Nell? Or are you 
trying to drive me crazy? 

Nell. I'm trying to tell the truth — an' to ask you to for- 
give me. 

Dick. But — I don't see, — you come here with the old man 
— you've lived straight — you're wrong, Nell — say you're wrong. 

Nell (hopelessly). I thought he was dead. Dad told me, 
but I might ha' knowed he wasn't; men like him don't die. 
I suppose — if he hadn't come I'd 'a' told you I'd been married 
before — I ain't sure. Don't blame me too hard, Dick; you 
wouldn't if you knew. 

Dick. Tell me. 

Nell. What's the use ? 

Dick. Tell me, I say. 

Nell. I wasn't very well raised, you know — always went 
around with dad — his " lookout " mostly. Dad took good care 
of me when he was sober ; anyway, I learnt soon enough to 
take care of myself. First time this man came to the game 
was up in San Francisco, when dad was down on his luck, — 
he put up for the bank, — came to live where we was boardin' — 
a cheap hole. He got hold of dad, so when they both asked 
me I married him. I had a year of it then. He took dad 
and me to New Orleans — Mexico, — he was always cheatin'. 



FARO NELL II 

not like dad. We landed back in 'Frisco — broke. He beat 
me — kicked me — sent me out on the streets. 

Dick. I was waitin' for that ! 

Nell. I ran away — starved — worked at anythin' hard and 
decent. Then I met up with dad — an' told him. He was 
sober, an' started out gunnin' for my — my husband. When 
he came back he told me I was a widow — that he had been 
shot up in a gambling scrape. Dad an' me came down the 
coast, we come here, — dad died — an' that's all. 

Dick. Poor Nellie ! Poor Nellie ! 

Nell. It is tough, ain't it, Dick ? I deserve it for cheatin* 
you. You boys was all so good to me — the sheriff — Polly — 
even Hank — you all thought a woman was somethin' dropped 
from heaven — an' I'd come here straight from hell. 

Dick. He trailed you ? 

Nell. Yes, he tracked me. 

Dick. God damn him ! 

Nell {simply). God will — sure. 

Dick {starting toward door c). He'll get away now — the 
boys don't know ! 

Nell. Where are you goin', Dick ? 

Dick {turning). To kill him — quick as I can shoot. 

Nell {holding him back). No, Dick, — no — no — no ! 

Dick {trying to get free). Let go of me 

Nell. I won't let you go — you shan't ! 

Dick {at the door). I'll shoot him like I would a rattler ! 

Nell. Dick ! 

Dick {pushing her back). This is my game, Nell — there ! 

{He goes out quickly ^ slamming the door. ) 

Nell. Oh, my God ! my God ! What have I done — what 
have I done ? {She staggers to bench l. and sits. A pistol 
shot is heard; then another, ^eul jumps to her feet.) What's 
that? {Door c. bursts open and closes behind Wiler, who 
falls across the bench l., almost at Nell's/t^A) You ! You ! 
{She stoops and looks at him ; rises.) Shot dead ! Who done 
it ? Dick ! Oh, my God ! They'll know 'twas Dick— they'll 
lynch him ! {She goes to door ; listens. Footsteps and mur- 
murs heard.) They're comin' — they'll get Dick — they shan't 
— they shan't ! They's more'n one can shoot ! {She snatches 
the pistol from her belt, breaks it, bites out a cartridge and 
throws it off l.) One bullet gone, — others there all snug ! 



II FARO NELL 

(^She goes into stable and crouches near the entrance R. 
Noise of men grows louder. Enter on a run CoOL. and 
other men^ except Dick.) 

Cool. He run in here after the gun was fired. Here he is. 
(^Goes to VViLER, kneels by him and turns.) Who shot him ? 
MiG. Senor Dick. 

Enter Dick ; he stands in the open door ; the men are grouped 
near the bench L. 

Cool, (rising). He's a dead rascal. Rascal or not you 
took the law in yer own hands, aji' I guess ye'll have to swing 
for it, Dick Thatcher. 

Nell (coming from stable laughing hysterically and swing- 
itig her revolver back and forth). Swing? Who? Dick? 
I guess not. Ain't there more'n one in this camp can shoot? 
I can. Look at that ! {She thrusts her revolver in Cool.'s 
hands ; he takes it puzzled.) Don't you see? One bullet 
gone with all the others snug — that's evidence, ain't it ? Fit 
it to the bullet hole; it fits, don't it? More evidence. (She 
punctuates her speech with hysterical laughter.) Don't you 
see? The law can hang on that, can't it? If it needs more, 
you've got it — provocation ! That man said what's so— I am 
his wife; he trailed me, tracked me here. I lied before, I 
ain't lying now — Dick knows. 

Dick. Nell! Nell! 

Nell. Dick knows, — I told him, — he went out to shoot 
him, but I got ahead ! (She laughs wildly.) I got ahead ! 

Cool. It was you, Nell ? 

Nell. Yes, yes, yes. Faro Nell shot him ; not Dick, not 
Dick, not Dick ! 

Omnes. She done right ; bully for Nell I 

(They go down a step, getting between Cool, and the body 
of WiLER, and Nell and Dick, who stand left of c.) 

Cool. Hold on there ! (He pushes men back and con* 
fronts Nell; speaks very quietly.) There ain't no law for 
punishing women in Californy this eepock, Nell. (He hands 
her the pistol.) Guess you go free, but I 'lows this here 
camp's a little too slow for you. You'd best clear out before 
you get the sheriff in trouble. 

Nell. You send me away, Sheriff — you want me to go ? 

Dick. He can't do it. 



FARO NELL I 3 

Omnes (ttturmuring angrily). No, Sheriff, no ! 

Nell {holding up her hand). The sheriff's right, boys. I 
don't want to make him trouble, an' the place is too slow for 

Faro Nell. I'll go — I ain't got anywheres much to go, but 

Good-bye, boys 

{She turns pistol on herself and pulls the trigger ; Dick 
knocks it from her hand as it explodes.) 

Dick. What you doin', Nell ? {Movement of crowd toward 
them ; DiCK holds Nell, who struggles; he turns to Cool.) 
Sheriff, 1 shot him, but not before he fired on me ! 

MiG. {leaning over body on bench). Caramba — in his hand 
a pistol cocked ! 

Cool. What ? Let me see ! {Goes to bench; men crowd 
round him; he turns.) All right, Dick; a dead man with a 
cocked revolver ain't no murdered man. 

Dick. Do you hear, Nellie? 

Nell {raising her head). Does it mean you want me, 
Dick? 

Dick. More than ever, girl. 

Nell {holding out her hands). Then take me — take me 
away ! 

{He takes her hands and they start up to door c. The men 
are massed in fro7it of bench hiding the body of Wiler. 
They take off their hats and swing them silently. Happy 
H. appears in door l. and flourishes a glass.) 

Omnes {singing softly). 
He was seein' Nellie home, 
He was seein' Nellie home — 
Oh, the moon was shinin', was shinin', brightly shinin' — 

(Nell and T>iCKpass out of door.) 

Cool. Three cheers for Faro Nell ! 
Omnes. Hip, hip hurray, hurray, hurray 1 



CURTAIN 



New Plays 



RED ACRE FARM 

A Rural Comedy Drama in Three Acts 

By Gordan V. May 

Author of '* Bar Haven,'' '* At Random Run,'* etc. 

Seven males, five females. Costumes, modern ; scenery, one interiort 

one exterior. Plays two hours. An easy and entertaining play with a 

well-balanced cast of characters. The story is strong and sympathetic and 

the comedy element varied and amusing. Barnaby Strutt is a great part 

for a good comedian ; " Junior " a close second. Strongly recommended. 

Price t 2 J cents 

CHARACTERS 
JosiAH Armstrong, the owner of Red Acre Farm, 
Colonel Barnaby Strutt, ''Crawling Codwollopers^* 
Jonah Jones, a farm helper. 
Squire Harcourt, who holds a 7nortgage, 
Harry Harcourt, his profligate son. 
Dick Randall, who seeks his fortune. 
Tom Busby, a traveling merchant. 
Amanda Armstrong, Josian s wife. 
Nellie Armstrong, driven from home. 
Laura Armstrong, a poor, weak sinner. 
Mrs. Barnaby Strutt, the ColoneV s wife. 
** Junior," adopted daughter of the Strutts, 

SYNOPSIS 
Act I. — Living-room of Armstrong's home. Spring. 
Act IL — Garden in front of Armstrong's home. Summer. 
Act \\\. — Same as Act \. Winter. 

THE SPEED LIMIT 

A Sketch in Two Scenes 
By Ernest M. Gould 
Five males. Costumes, modern ; scenery, unnecessary. Plays twenty 
minutes. A good-natured and effective skit on automobiling, very funny 
and very easy to get up. It requires no scenery or stage, but can be done 
on a platform just as well. Its fun is extravagant, but it is otherwise 
suited for school performance. Price, is cents 

"WILLIAM" 

A Farce in One Act 

By W, C. Parker 

Two males, two females. Costumes, modern ; scene, an interior. 

Plays twenty minutes. A brisk little piece of the vaudeville order, easy 

and full of laughs. All three parts are good ; strongly recommended. 

Price, /J cents 



Novelties 



SCENES IN A RESTAURANT 

An Entertainment in One Act 
By Jessie J. Kelley 

Author of **Our Church Fair,"' ''The Village Posi-OJice,'' 
**Miss Prims Kindergarten*' etc. 
Fifteen males, ten females. Costumes modern ; scenery unimportant. 
Plays one hour. A humorous presentation of what happens every day in 
the average restaurant, hitting everybody right vi^here they live. Sure to 
be popular. All parts good ; lots of incident and chances for local hits. 
Can be recommended. 

Price, 23 cents 

CHARACTERS 



Mr. Jones, head waiier. 

Mr. Rice, a mean man. 

Mr. Foss, who bas a flan. 

Mrs. Brett. 

Mrs. Dacey. 

Mrs. Slack, deaf^ middle-aged. Mid stout. 

Miss Drew. 

Mr. Rich 1 . , 

Mr. Jackson T^^"''^- 

Reuben Grass, from the country. 

Mandy Clover, his best girl. 



Mrs, Smiley, an indulgent mother. 
Maud, her daughter; a spoiled child. 
Beggar. 

Mr. Hall, a health crank. 
James, bis servant. 
Mr. Monroe, a chronic kicker. 
Hiram Greenback, from way back. 
Mary Ann, bis wife. 



FUN IN A THEATRICAL OFFICE 

A Vaudeville Entertainment 

By Marctvene Kennedy Thompson 

Seven males, sixteen females. Costumes modern ; scenery unimportant 

Plays a full evening. A complete vaudeville entertainment in itself or can 

be used as the frame for other specialties ; a " go-as you-please " show, 

very elastic and adaptable to all places and circumstances. A big hit in 

T.ts original performance. Strongly recommended. 

Price t 25 cents 

CHARACTERS 



Luke Loud, a theatrical agent. 
Bat, Itk office boy. 

Clara Vere De Vere, his stenographer. 
Orchestra Carr, bis pianist. 

VAUDEVILLE ARTISTS 



Gentlemen 



Pietro De Bianaco. 
George Washington 

Ian Getupangjtski. 
leuben Haskins. 



Ladies 

Mrs. Susan SuflTreno Riser. 

Mrs. Trailing Arbutus Flower, mid het 

thirteen children. 
Miss Anise FIderbloom. 
Frisky Dewdrop. 
Fluffy Flutter. 
Madame Sylva. 
Mrs. Bridget Casey. 
Mrs. Rulethe Roost. 
Two ladies /or sketch introduced. 
Mme. Carmencita. 
" Peach " Ott. 
Ruby Ott. 
Goldie 
Biixlie 
QjLt«eni« 



tbe Coqitette StOm, 



I 



91. W, iltneto'0 Pa^ 

|^ctce< 50 <Cent$e ^ad^ 



THF MAfilSTR AT7 ^^^^^ ^ Three Acts. Twelre males, four 
lUli iUA\lUll\AlX( females. Costumes, modem; scenery, all 

interior. Plays two hours and a half. 

THE NOTORIOUS MRS. EBBSffllTP ^'?-"» '» '"7 ^f 

E,i,; • males, nve females. 
Costumes, modem ; scenery, all interiors PI? ys a full evening. 

THF PROFITfiATF ^11*7*11 Four Acts rieven males, fire females. 
IUI4 lAUlMUAlL. SQgjjery^ tjjj.ge interiors, rather elaltMrate ; 
costumes, modern. Plays a full evening. 

THE SCHOOLMISTRESS farceinl^eeAets.NInemales,seven 
females. Costumes, modem; scenery, 
three interiors. Plays a full evening. 

THE SECOND MRS. TANQDERAY ^L%^-ir "r 

tomes, modern ; scenery, three interiors. Plays a full evening. 

SWEET LAYENDER ^**™®^y ^ Three Acts. Seven males, four 
females. Scene, a single interior; costumes, 
modern. Plays a full evening. 

THF TIMES ^^"^®^y ^ Four Acts. Six males, seven females. 
Scene, a single interior; costumes, modem. Plays a 
full evening. 

THE WEAKER SEX ^^^^^^y ^ Three Acts. Eight males, eight 
females. Costumes, modem ; scenery, two 
Interiors. Plays a full evening. 

1 WIFE WITHODT A SMILE ^l^,'^^,^::. 

modem; scene, a single Interior. Flays a fall eveningc 



One copy del. to Cat. Div. 



^ price by 

Company 

1, Massachusetts 



1 



FEB IS in; 



LIBRARY OF CONGRESS 




of mm'" "^'^' 



AS Yfill I flTF IT Comedy in Five Acts. Thirteen males, four 
ikJ ixfV Ml^i^ 11 females. Costumes, picturesque ; scenery, va- 
ried. Plays a full evening. 

CAMIT T F ^^^"^^ ^^ Five Acts. Nine males, five females. Cos- 
ViilUILflylv tumes, modern ; scenery, varied. Plays a full evening. 

JNflOMAtt ^^^J i^ Five Acts. Thirteen males, three females. 
«liuViiiai\ Scenery varied ; costiimes, Greek. Plays a full evening. 

MAPY STIIAPT Tragedy in Five Acts. Thirteen males, four fe- 
i1tLAI\1 OlUiiJii males, and supernumeraries. Costumes, of the 
^period j scenery, varied and elaborate. Plays a full evening. 

lllli luCKvllAlNi Ur Ytnltt males, three females! Costumes, 
ipipturesque ; scenery varied. Plays a full evening. 

RirHFT IFII -^^y ^^ 'Five Acts. Fifteen males, two females. Scen- 
jytS^llLiLtlLilJ ery elaborate ; costumes of the period. Plays a full 
evening. 

THF VfVAT S Comedy in Five Acts. Nine males, five females. 
1 Hit ul T ALiD Scenery varied ; costumes of the period. Plays a 
full evening. 

SHE STOOPS TO CONQUER SSSff. '" "" """" ™'""" 



ried: 



four females. Scenery va- 
costumes of the period. Plays a full evening. 



TWELFTH NIfiHT; OR, WHAT YOU WIIL iTAfJii^ 

three females. Costumes, picturesque ; scenery, varied. Plays a 
full evening. 



Sent prepaid on receipt of price by 

Walttv ^. I3afier & Company 

No. 5 Hamilton Place, Boston, Massachusetts 



4. FARKHIIL A CO.. PRINTERS. ■OSTON. U.S.A. 



